Traditional shaped-note singers from the Blue Ridge Mountains have an unmistakable sound. Typically, they sing slower than singers of other shaped-note styles, allowing for a more pronounced blending of all four harmony parts. Some singers add written and unwritten embellishments that are passed down through the generations - these ornaments were even studied in a well-known doctoral dissertation. Tempo, harmony, ornamentation - all of these created an expressive sound that is unique to the Blue Ridge style.

 

Why is there a distinct style in the Blue Ridge? Perhaps it stems from the actual shaped-note books that were prevalent in the area. Additionally, singing school masters usually taught in a localized geographical region or "territory" of sorts and bore much influence on their students. And was the rich ballad tradition found in the mountains an influence on the style - especially the ornamentation?

 

At the Quay Smathers Memorial Singing School, we will listen to archival recordings of Blue Ridge shaped-note singers and pay close attention to their unique sound. A discussion with contributions from our singing masters will also bring to light some of the nuances found in the mountain singers' style. And, most importantly, the legacy of perhaps the best known Blue Ridge shaped-note singer will be kindly passed down to you with personal attention and the mentoring he was known for.